This vintage photo album with history-laden captions and introductions evokes the characteristics that made/make Chicago great: ethnic diversity, successful businesses built on hard work and in often unclean conditions and political moxie. Bridgeport was not a pretty place. Even the final chapter which promises, an “abundance of truly impressive architecture”, showed dour buildings and reminded me of how unappealing the 50’s and 60’s were.
But this is a fun read through the history of one of Chicago’s 77 communities. The early years and the creation of the I&M Canal, which ran through Bridgeport and Stearns’ Quarry, in the heart of Bridgeport, which supplied the limestone that built Chicago, were my favorite parts.
"Gulp: Adventures on the Alimentary Canal" by Mary Roach, W. W. Norton, 2014
I listened to this book hoping it would deal somewhat with the role of the pancreas in digestion. It did not even mention enzymes in the digestive process, only how the chewed food is moved along from tongue to final, smelly end. Roach is an entertaining writer (science-lite). Learned more than I ever want to know about Elvis’s bowel problems -- it’s that sort of book.
A work of searing truth and staggering theatricality
Breon Arzell ad Joe Brodsky and Andrew Malone as Sam Liebowitz
The nine "boys", actually three women, six men in the cast.
One of the infamous early trials with the "all white" jury in the background.
Direct from Death Row: The Scottsboro Boys (An Evening of Vaudeville and Sorrow), by Mark Stein, Music and Lyrics by Harley White, Jr., produced by Raven Theater Company. The following taken from a review by Hedy Weiss, Chicago Sun Times, because she says it so much better than I.
“It’s a stunner. Mark Stein’s important, ingeniously conceived play — with a wonderfully warped use of traditional songs, plus original music and lyrics by Harley White Jr. — is a magnificent achievement on the part of its creators. And it has been brilliantly directed by Michael Menendian (in the most superb, breakout work of his long career), with a cast of nine young, blazingly talented African American actors diving brilliantly into satirical work that would bring a big smile to Bertolt Brecht’s face.
Add to this the droll, effortless presence of pianist-music director Frederick Harris, the volcanic period choreography by Kathleen Dennis and the contributions of an ideal design team, and you have a production that does full justice to the enduring case being chronicled. But you also have a show that turns what might have been a straightforward documentary into a volcanic, searingly painful yet simultaneously immensely entertaining look at the whole panoply of issues — race, politics, justice, celebrity, sex, money, class and the nature of individual character — illuminated by this case.”
In my own words – DBH and I were gob-smacked by this play. In addition to all that Ms. Weiss says, this play has masks. Yes, masks, as in double suspension of disbelief. The African-American actors wore masks to become the white characters in the telling of this tale of hate and ignorance. This was our first time at the Raven Theater, even though it’s been on North Clark for 30 years. A real food desert if you want to combine dinner with theater. So, not one of our most memorable meals, but one of our most memorable evenings of theater. A full-blooded royal prince.
Chicago Theater Catch-up: Four of Lesser Nobility and One Big Fabulous Prince
We’ve seen so much theater lately that it isn’t possible to devote a full post to each production. So here’s the abbreviated scoop.
C. S. Lewis: The Most Reluctant Convert written by Max McLean, starring Max McLean and produced by Fellowship for Performing Arts – This one-man show, taken from the writings of Lewis, narrates his intellectual struggle with spiritually, belief in God and organized religion. Nominally raised as an Episcopalian, he became a professed atheist. When teaching at Oxford (still in his early 20’s) his companions in the English Department were some of the well-known intellectual Catholics, including J.R. Tolkien. Through his own exploration, he rationalizes that the life of a man cannot be completely without value or purpose, becomes a deist, then a Catholic. And there it ends. McLean has made a career of crafting the words of Lewis into stage productions. We enjoyed The Screwtape Letters several years ago. A worthy production, a minor prince.
Douglass created by American Vicarious and directed by Christopher McElroen – I was startled when the title character walked onto the stage and was an African-American. I thought this was a play about Stephen A. Douglas, the politician and debater who espoused the states’ rights and slavery. No, this was Frederick Douglass, former slave who became a unique emancipator prior to the Civil War. This is a well-told docudrama that shows the narrow path Douglass chose between radical Blacks, who advocated a return to Africa, radical Whites, who favored full emancipation, but never thought through the results, opportunists who were eager to exploit educated Blacks for nefarious purposes and those few both black and white who, like Douglass, favored a slow approach to change. A worthy production, but not a prince.
Our Lady of 121st Street by Stephen Adly Guirgis, directed by Sarah Moeller, produced by Eclipse Theatre Company, written in 2002 – This is our third Guirgis play and his earliest for us. It’s a series of vignettes, conversations (usually angry ones) with two or three of the show’s 12 characters. It reminded me instantly of Balm in Gilead by Lanford Wilson, except that in Blam, everyone is talking at once and the featured conversation is spotlighted and all other conversations tone down. In Our Lady, the conversations are sequential, but because of the excellent set combining a bar, a funeral parlor and a confessional, most of the actors are able to remain present on the stage, but not engaged. Excellent acting, even though the play itself lacks a dramatic arc. A prince.
The Importance of Being Earnest by Oscar Wilde, produced by The Dead Writer’s Collective – who present the works of dead writers exactly as they were produced during the writer’s life. And this production clocked in at almost three delightful hours. All the characters were played in “earnest”, no hamming. The ensemble was all matched in diligence and style. Enhancing it were stunning costumes and a tiny set that appeared to be a pop-up style Victorian greeting card. Just as in the days of Oscar, this was a prince.
Company, music and lyrics by Stephen Sondheim, book by George Furth, produced by The Writer’s Theater of Glencoe and directed by William Brown, was splendid. We’ve always loved this musical, chock full of memorable songs and story lines. But this production was the best ever. For the first time, I felt this was homage to marriage, not a sad story of a man who can’t find a mate. Brown adapted the book, originally produced in 1970, so it did not feel dated. The changes were flawless and only enhanced the emotional impact. The only drawback was the performers were miked – which would not have been a problem except the sound engineer was asleep. When the big solo numbers came, the sound was way too loud, uncomfortably so. Ah well, those with low hearing were grateful. This show was a Grand Prince!
"Chronicle of the Narváez Expedition" by Alvar Núñez Cabeza de Vaca, written in 1542, translated by Fanny Bandelier, published in 2002 by Penguin Books
Oh my! Shipwrecked on the west coast of Florida in 1527, Cabeza de Vaca and three other survivors spent the next nine years seeking “Christians” in the midst of Indians as they traversed the U.S., ending in New Spain, what is now Arizona. There were none. This small band was the first. In the beginning, they were reviled and enslaved. By the end, they were worshipped as healers and gods. In Arizona, they were discovered by a group of Spanish soldiers on an expedition to capture Indian slaves.
A rare first-hand account and an easy, short read -- a “must” read if you are interested in American history – and how completely populated the entire south of the now U.S. was with native tribes.
"A Doubter’s Almanac: A Novel" by Ethan Canin, (Random House, 2016)
What a roller coaster ride this book is! The first half tells the tale of a brilliant, self-absorbed, alcohol addicted, misogynistic, mathematician, Milo Andret, who goes from child wonder to adult ass. The second half is told from the POV of the son, Hans, yet another mathematician, addicted to pills, but with manners, morals and the wisdom to make and save real money. It is his role to try to explain his father to the reader. It almost works, but the bow at the end is tied a bit too prettily.
None the less, I loved this book. I made me think about choices we make. Helena, Milo’s secretary and then wife, when asked by her son why she stayed in the marriage so long and without apparent bitterness replied, “We make choices, then we make them the right choices”. When I discussed this with my niece, Tracy, a teacher of mathematics, she enlightened me how that phrase describes the world of quantum physics and mathematics. That every second in the universe is based on decisions and we can’t have a “do-over”; everything moves forward (or in whatever direction) as a result of each decision. I hadn’t expected Helena to be describing her life in her husband’s terms – but it is so fitting. And a good take away for anyone who agonizes over life choices.
"City on Fire" by Garth Risk Halbergs (Knopf,2016) - A long read...
Weighing in at 911 pages, this book can’t hold a candle to A Little Life (see previous review). I listened to it – 38 hours! City on Fire is a monumental first novel from a young writer, with a bright future. It’s all about New York City, from 1960 to approximately 1990, most of it focused around 1977 and the New York blackout. (Side note – I was stranded in an airplane at the end of the runway at LaGuardia when the lights went out. I buddied up with some other industrious travelers, found a cab to take us to a nearby motel, helped to empty their bar and slept in a sort of ok bed, rather than the floor at the airport. Made it to Miami the next morning.)
The saga is multi-generational, multi-class – stretching from middle class Long Island, to the drugs and anarchy of Hell’s Kitchen and Alphabet City, to the rich and bereft in the Upper East Side and Wall Street. As with any good fiction, these element all link together in epic fashion, most of it plausible. The “fires” of the title are set in abandoned buildings in the Bronx by the punks who want to show up the injustice of the haves vs the have nots. What they end up doing is devaluing the properties even further so financiers (Wall Street and Upper East Side) can have huge blocks of property condemned for blight. Then they step in, buy it for pennies and build anew. Ah, the naiveté of the young.
Between Riverside and Crazy, produced by Steppenwolf Theatre Company, written by Stephen Adly Guirgis
July 17, 2016
How timely – a play about African-American and white police officers feuding, grumpy family relations, elder-achievers and Trump-like negotiations – this play has it all.
Several years ago, we saw Guirgis’s The Mother****er with the Hat, a good play about marginal people, directed by Anna D. Shapiro at Steppenwolf. We enjoyed it, but felt it lacked moral heft. Good acting, but where was the point?
Between Riverside and Crazy premiered three years after the Hat, and Guirgis’s development as a playwright shows. This is a play with a deep moral core, whether you like the ending or not. He takes time to build the conflicts, he surprises with the resolution. Anna D. Shapiro, now Artistic Director at Steppenwolf, again directed. The actors are excellent. Eamonn Walker is the lead.
What I like best about this play is the change-up in plot and pace in the second act. By the end of the first act, I was almost bored with the conflicts and what appeared to be yet another “angry black man, frustrated white man” set-up. But in the end, everyone got what they wanted, even though they may have sacrificed more than they anticipated. Definitely a Prince.
Deathtrap at the Drury Lane Theater – July 7th
Dining room at Drury Lane
Ira Levin wrote this play in 1978 and it has been performed continuously since. It’s a comedy-mystery about play writers – a lovely way to laze away a hot afternoon with sister-in-law, Norah. Best of all was the location – Drury Lane Theater in Oak Book Terrace. This hotel, cum conference center, cum 900 seat theater is a monument to all the kitsch of the 80’s. Think the TV show Dallas. We enjoyed the play. It was all good fun.
The Apotheosis of Tap Dance
I fell in love with tap dance watching the last of the Fred Astaire dance movies(Funny Face, Daddy Long Legs, Silk Stockings), which led me back to the glory days of Fred Astaire movies and dance. Then there are the movies of Gene Kelly (more modern dance than tap, but he could tap with the best), and Donald O’Connor. When 42nd Street was revived, I was there to see all the tapping; same with Chorus Line.
In Chicago we are privileged to have one of the best tap dance organizations in the world (Tap is a uniquely U.S. dance form and so the very best are here.), The Human Rhythm Project. They awe us annually with two weeks of dance performance in the summer, culminating with evenings that bring together the best of the best. My friend, Linda Sugarman and I snagged tickets for last night. Four soloists, followed by 40 minutes of ensemble and solo tap to the jazz of Coltrane. It’s a stretch when you think of the mellow saxophone and the brittle percussion of tap, but when you see the tap rhythm juxtaposed with jazz, there is magic.
It is impossible to describe what happened on the stage. One, I don’t know dance and can’t explain the moves. Two, tap is percussive, so the sound in the theater is the experience. But here is a video that is much like the work we experienced – Jumaane Taylor’s Supreme Love. Something to watch for: when the ensemble is dancing at the beginning, their steps are the same. In the ensemble segment at the end, the rhythm is the same, but all of their steps are different. Just like a band of instruments. We are still walking around in awe.
Click here to watch the dancing. We saw this on a much larger stage, which was more impressive.
"The Book of Mormon" by Trey Parker, Robert Lopez and Matt Stone
I loved it! Rude, crude, satirical, irreverent and ultimately sweet, almost with a moral to the story. The casting was excellent. Cody Jamison Strand steals the show as the anti-hero in the mode of early John Belushi sweetness with a sadistic twist. Singing and dancing were fun – and seemed to never stop.
Best of all were the two ads in the program from the Church of Jesus Christ of the Latter-Day Saints proclaiming, “The book is always better”, featuring a lovely young woman of uncertain ancestry, and “You’ve seen the play…now read the book,” featuring a man of African ancestry. A sign of maturity is the ability to poke a bit of fun at yourself. And, the Mormons appear to be able to do just that.
Storm Large and Le Bonheur, The Crazy Arc of Love, Wednesday, June 22
The Grant Park Symphony has wonderful concerts at Millennium Park. Usually about a hour in length at 6:30 pm, they attract flocks of workers from downtown to the park for picnic dinner and entertainment. We were kindly invited to join friends who have real seats (about half the seats are free and the lawn in huge) and live on Randolph St., directly across from the park.
Weather, ominous, predictions of rain. Result, not so many folks there. We picniced in our friends apartment to spare ourselves the wet grass and scooted over to enjoy Storm Large. Her real name, so she says. This lady does have a large and wonderful voice. She fronted for Pink Martini for several years and is now on her own, doing all sorts of interesting things, like appearing with symphonies. Best number of the night, hands down, was her symphonic version of Steven Tyler's "Dream On". She rocked! Interesting side bet of the evening, "Would Storm fall out of her dress?" The one in the photo is what she wore. She remained intact.
And, as we were boarding the 151 bus to take us home, the skies opened and it rained for hours.
"A Little Life" by Hanya Yanagihara (Doubleday, 2015)
Clocking in at 720 pages, this is not a read for the faint of heart. But it is so worth the journey. The story is one of friendship, love, family, child abuse, molestation, despair and no redemption. The writing is excellent. Unlike 2014’s long book, The Goldfinch by Diana Tartt, which I found long and often uninteresting, A Little Life is like a sturdy raft on a smooth stream – the length slips by like water.
I gained insights into the loss of “self” that results from child abuse, especially sexual abuse. While reading the book, I had conversations with a friend who was severely abused and she confirmed what the book reveals – the development of two levels of existence in the adult survivor. Highly recommended, but not for the beach.
An Anthony Newley and Leslie Bricusse Songbook
Produced by Theo Ubique Cabaret Theater
Who doesn’t remember these songs: “On a Wonderful Day Like Today,” “The Candy Man”, “Pure Imagination,” “Goldfinger” “Once in a Lifetime” – the list goes on through 20 songs in 70 minutes. Theo Ubique presents these wonderful cabaret productions each summer, featuring strong local talent.
The staging was unique – mime-ish, with tattered steam-punk costumes. I enjoyed it and thought it suited the songs, but DBH and Norah felt it detracted from the evening. Best of all was the pianist, Jeremy Ramey, who made an upright seem like an orchestra.
Dinner was at the Heartland Café, a block north of the theater. It is one of the original vegetarian restaurants in the area and continues to provide healthy, hearty food. Cod fish cakes topped by poached egg. Just like my mother used to make for Catholic Friday meals.
Score: musically a Prince, less royal for the staging.
Physical Fest Chicago 2016
Per my friend, Wikipedia, “Physical theatre is a genre of theatrical performance that pursues storytelling through primarily physical means. Several performance traditions all describe themselves as "physical theatre", but the unifying aspect is a reliance on physical motion of the performers rather than or combined with speech to convey the story. In basic sense, you talk through hand gestures, body language, use of objects and many more physical features." Mimes, sure, but so much more – puppets, masks, dance, sound effects – components that take “suspension of disbelief” to another sphere.
Last year, my sister-in-law, Norah, and I stumbled on one night of Physical Fest 2015 and were swept away by two performances: a one-man show “A Little Business at the Big Top” that recreates the world of circus and “Popol is Gone,” described as "a journey through madness, revolution and solitude" that is conveyed as a dialogue with the audience. We vowed to return.
And we did, with Festival passes (not quite like Taste of Chicago or Lollapalooza passes), and dragged DBH along, though he did not much protest. This year we attended all five productions – and wished we could have attended the workshops. Here’s the lineup with our feedback.
Hominus Brasilis
Hominus Brasilis by Cia Manual (Brazil). 6o minutes of non-stop movement and a few words (mostly jibberish) that told the story of Brazil from the creation of the world to Zika virus and the Olympics. You see the size of the “stage” in the photo. And the movement rarely stopped on this lily pad for performance. Magical, definitely a Prince.
Laura Simms
How to Find Romania, written and performed by Laura Simms. Simms is a storyteller, and a substitute in this lineup. You would not normally put a verbal performer into this festival. She’s good, sometimes really good. But, her performance is too long, with sections that could have been easily edited out. Score: Toad
The Bag Lady
The Bag Lady by Malgosia Szkandera, a Spanish artist of Polish descent. Magic with plastic bags, mostly the common white grocery kind. Such amazing physical control of her body to provide movement for her tiny puppets. What imagination! Definitely a Prince.
Sad Songs for Bad People by Rough House Puppet Theater (Chicago). Puppets again, mostly with dark themes and, unfortunately, dark lighting. Instead of regular spots, they used #10 cans on poles wired for lighting. One sequence featured “black light”, but everything was so dim you could not follow the action. Understandably they are attempting to create an atmosphere of amateurism, but they must be a bit more appreciative of the needs of the audience to accomplish this reverse of technique. Some of the sequences were stunning, so very sad. Score: Very dark Prince
Sad Songs for Bad People
Hold Onto Your Butts by Recent Cutbacks (New York). This rocked the house. If you have seen Return to Jurassic Park, picture the whole story told by two men and a Foley (sound effects) artist. Raunchy, punchy, over-the-top athletic with amazing sound-effects and sight-gags. I want to see it again and again… Score: Prince.
You can actually share a bit of their wild and crazy show on this video promo.
“Thaddeus and Slocum: A Vaudeville Adventure” by Kevin Douglas, Lookingglass Theater Company
This won’t be a rant about brand being a promise of quality – especially since we attended a preview performance. Thaddeus and Slocum, as we saw it, is not up to the quality of a Lookingglass production. This is Kevin Douglas’s first full length play.
The subject matter is difficult: an interracial Vaudeville (black/white) duo in which the “negro” wears black face because an interracial act would not be booked in either black or white theaters at the turn of the century. (Probably would not have been booked in most of the U.S. until into the second half of the 20th century.) So, right away you have a social/moral conundrum, interspersed with a love story, and Vaudeville acts. Lookingglass is known for their outstanding physical theater – precise dancing, gymnastics, incredible staging – this in no way measured up. And the story is poorly written, not compelling.
Score: Toad
"Sender" by Ike Holter, a Red Orchid Theatre production
Oh to be 35 again – and experiencing Chicago theater for the first time. Sender, by Chicago playwright Ike Holter, would have sent me to the moon. This play is well crafted; the acting is excellent; the direction sharp and coherent; the stage and the theater small and gritty.
But, it’s 30 years later and we’ve been there, done that. Guess this is part of the price of seniority – not much wows us. However, this play and Steep’s The Few are the best we have seen this summer.
We saw Holter’s Exit Strategy last summer at the Jackalope Theater. It dealt with Chicago teachers facing the closing of their high school – a reality in the Chicago Public School District. It, too, was well written, but Sender shows growth and maturity - also a better troop of actors.
Interesting that both Sender and The Few begin with the surprise appearance of the male central character who has disappeared for one and four years. Did the authors attend the same workshop? It is an interesting device for introducing all sorts of mayhem.
There is an extended sequence in this play where the two male characters, one the returnee and the other the bereft best friend, rebond. The language and action seemed so real and true (lots of beer involved, of course) that I asked DBH after the performance how, as a man, he felt about the scene. He confirmed my reaction.
Like The Few, Sender deals with characters living on the fringe - in this case, artsy, marginally employed millennials. One works at Groupon. Ever read their offer descriptions? Groupon prides itself on employing Chicago artsy folks, especially actors who need day jobs. They are given license in writing up offers, often resulting in unintelligible jargon probably fun and funny to their cronies. They make good grist for the playwright.
Score: Prince
“Mary Page Marlow” by Tracy Letts - Steppenwolf Theater
The six Mary Todd Marlowe actresses
Tracy Letts is a remarkable playwright – and a remarkable actor. I’ve not seen all of his plays, but “Killer Joe” and “August Osage County” are memorable. And his turn on “Homeland” as the nefarious Senator turned CIA Director Lockhart was evil fun.
So where did this loving, tender story of an unremarkable woman come from? It’s told in 90 minutes of vignettes from the life of MPM. Played by six actresses, with no attempt at physical cohesion, and a large supporting cast, you see MPM from birth through life-accepting senior. What you experience is a woman who grows and learns and makes poor choices, pays the price and moves on. You want more. You want a cherry on the top, or a large reveal – and there is none.
The Chicago Tribune reviewer, Chris Jones, gave it four stars. And one of his reasons is that the six actresses each have the opportunity to hit it out of the park in their turn on stage – and he’s correct, they do. But, I was left wanting more. That’s not a bad thing, and usually indicates that the playwright is crafting a good tale, but it left me undernourished.
Score: Toad
The $500 Cup of Coffee: A Lifestyle Approach to Financial Independence by Steven Lome and David Kramer
I loved this little ebook. Written by a man I met at BEA, Steve Lome. I offered to talk with him about PR - so I had to read the book to be of any help - and loved it. It is well researched, well-written and well-organized. It reminds me of the self-help financial books the Wall Street Journal published, but this one is fun to read.
OK, so there was lots of information in this book that I already know - and am too old to put into practice. I'll be long dead before saving $100 a month with compound interest from wise investments is going to help fund my retirement. I did learn about robo-investing and will look into that. But for Millennials, for high school and college grads, for folks leaving the military - this book is a financial bible. And, it does not tell you "what to do". It explains all of the financial options so you can make wise decisions. It is no "get rich quick" lecture. It is more the tortoise than the hare, but it contains the keys to financial security - at least in the world as we know it today.
The Old Filth Trilogy by Jane Gardam
Old Filth (Europa Editions 2006)
The Man in the Wooden Hat (Europa Editions, 2009)
Last Friends (Europa Editions, 2013)
What delightful reads – well written, humorous and melancholy at the same time. The trilogy deals with the lives of “raj orphans”, children of British colonials sent back to England for education, and to get them out of the parent’s hair. Once in England, most attend boarding schools, but in the case of Edward Feathers, the main character, he was too young, so with distant cousins was sent to live with a stingy Welch couple who made life hell for all.
Tragedies are not dwelt on throughout the trilogy – stiff upper lip and all. These books respectfully tell how raj children made their adolescent lives in England, their careers back in the colonies and their retirements in England. Abandonment is a big theme. Edward Feathers’s nickname, Old Filth” is an acronym for “Failed in London, try Hong Kong”. Once educated, the raj children were more successful returning to the colonies than in England, where they lacked social continuity.
Highly recommended for the tight, yet easy writing and the "new-to-me" information about yet another aspect of British colonial life. Good stories, too.